FINAL MODEL

Below is a link to my final Unreal Ed model:

http://files.filefront.com/13920518

Final design.

The structured pathway through the design is a simple circuit. To neutralise the meeting space I have designed the elevators to work such that Prada must go up to meet Obama in his office, so that they can both enter the meeting space together. Once lunch is over, Obama must accompany Prada back to her work space, before continuing back up to his office. This creates a connection between the two clients that extends beyond simply having lunch together.

Obama's entrance hall. Intimidating initially, until the columns react to the client's presence and sink creating openings to the outside.

See: ftp://emustore.fbe.unsw.edu.au/resources/samples/Arch/ARCH1101%20-%20Lowe/Lecture_Nine_Action_Interaction_Reaction/prison.mpg

Elevator up to Obama's office; the building responds to the client, enhancing a feeling of power.

Obama's office, classically simple yet warm; different to the intimidating entrance hall before.

The meeting space and dining table for Obama and Prada to share their lunch in a neutral environment.

The meeting space. The dining table and chairs rise back up as Prada and Obama leave.

Mover transporting Prada and Obama from the meeting space to Prada's work space.

See: ftp://emustore.fbe.unsw.edu.au/resources/samples/Arch/ARCH1101%20-%20Lowe/Lecture_Nine_Action_Interaction_Reaction/AI%20box%20craft.mpg

Prada's building is constantly pumping, working hard to maintain the status and power of the "Prada" label.

 

Prada's production gallery.

 

Elevator from Prada's space back up to Obama's space.

 

Elevator animation

SKETCHUP MODEL

This model is a compilation of all my movers: elevators, dining table, meeting space, and Obama and Prada’s buildings.

http://sketchup.google.com/3dwarehouse/details?mid=744f800aa22c32e2ce2b351b0a06fd3c&prevstart=0

 

THIRTY-SIX CUSTOM TEXTURES

Below are my custom textures for ‘movement’. The words I used for inspiration are: Linear, Rotational, Scalar, Extend, Flow and Absorb.

I have used my linear texture in my model to denote the movement of my elevators.

FINAL DRAFT

This is my basic model. I feel I have created spaces and movers which reflect my concept of power as best I can. More work needs to be done to polish off the entire scheme.

http://files.filefront.com/13920453

The overall scheme of the building.

Obama above, Prada below and a meeting space which hangs onto the bridge and only exists when the two clients meet to have lunch.

The meeting space 'creating' itself.


The space could not exist without the floor from Prada's building or the columns from Obama's holding it in place. It is a collaborated effort encouraging the notion of interdependance and a neautralized place to enjoy lunch.

REVIEW

This is a feedback sheet for Barnaby Hartford-Davis and John Caldwell, neither have finished Experiment 3 so the marking is not very accurate. It is interesting seeing the different approaches. Barnaby has extensivly used SketchUp to create free-form shapes and John has used a story-line as the inspiration for his designs.

DRAFT

This draft is very basic, as I am still changing my design constantly. I have clear concepts; however my attempt at executing them is still not to my satisfaction. Modeling up my current idea has been helpful in thinking critically about what ideas will and will not work. I still have much more work to do.

http://files.filefront.com/13920417

Entrance to Obama's Office

Below is Prada's building and next to it is where the meeting space will be.

CONCEPT

Both Obama and Prada possess a power over society, however the source, motivation and ultimate utilization of their power is different.

Obama: Political power. Governing. His power is personal. Willingly bestowed upon him by society. His power is stable, however will only last for a specified amount of time.The building gives Obama power. The building will react to him. Strong, stable, Government power; inevitable loss of Obama’s personal power.

Prada: Economic power. Industrial. Her power is the company “Prada”. She had to ‘capture’ the attraction of society to gain her power. She could lose her power at any time, thus she must constantly work hard and exert her power to keep it. The building is the power. Prada is moved by the building. The building must constantly ‘work’ to sustain its power.

Meeting space: Neutral. This is a shared space for two powerful individuals. It is where they will have lunch, and not do business. Thus, their ‘power’ should be neutralized to create and fair and relaxing space. Avoid egotistical symptoms: create interdependence. The two separate work spaces should collaborate to create the meeting space; so that one could not enjoy lunch without the other.

This neutralization of the client’s power could be taken further, by forcing them to arrive and leave the meeting space together.

EIGHTEEN PERSPECTIVES

Below are selections of my best 3D perspective sketches. They are a mixture of one and two point perspectives of ‘F’ and ‘H’ shapes mashed together to create pathways.

At first my notion of pathways was quite limited, and I created shapes that you would walk around in, rather than on. As I had more practice, my designs became more complex and potential realistic spaces. These will serve as inspiration for my meeting space.

MASHUP

Miuccia Prada entered the family business 1978 and soon revolutionized the appearance of its products. Barack Obama is revelling in presidential power and influence unseen in Washington for decades. Madonna is clearly in charge. As her career approaches its third decade, Madonna represents the triumph of willfulness.

She has consistently pursued a very particular and unusual aesthetic. Obama already is assured a legacy at the top of all three branches of government - executive, legislative and judicial. “I rely heavily on the people that I collaborate with to inspire me.”

"The only way to do something in depth is to work hard.” “I'm at my most creative when the pressure's on.” Having firm control over the White House and Congress, Obama has the ability to push through ambitious plans.

Prada is entirely in charge of the companies creative decisions, basing her decisions on intuition. The federal government's bailout of banks and auto companies has given Obama the power to force an overhaul in those industries. Nothing holds back Madonna. Not love, not pop expectations, not tastefulness, not religion, not the laws of physics.

She is reported to be overly fussy about each detail of her design. Each product has to be changed over and over in order to come closest to Prada's initial idea. Madonna can do what she wants. “Art is about learning and about living with people. It's alive.” His job approval ratings are well over 60 percent, giving him political capital to undertake big challenges. Madonna called criticism of her adoption "shocking"

Prada is said to be the most prominent example of a new form of inward-directed luxury. "Anything she can do to get out the word that these kids need help is appreciated." "I cannot in my memory remember a time when a president of the United States has had more influence.”

1. Alastair Sooke, “Miuccia Prada Interview: Fondazione Prada,” UK Telegraph (May 2009), http://www.telegraph.co.uk/culture/art/5277507/Miuccia-Prada-interview-Fondazione-Prada-Milan.html (accessed May 12, 2009).

2. Jost Krebs, “Miuccia Prada biography,” Fashion Infomat, 18/1/2007 http://www.infomat.com/whoswho/miucciaprada.html (accessed May 12, 2009).

3. AFP News, “Obama plays comedian-in-chief,” Sydney Morning Herald (May, 2009) http://news.smh.com.au/breaking-news-world/obama-plays-comedianinchief-20090510-az1q.html (accessed May 12, 2009).

4. Steve Holland, “Obama revelling in US power unseen in decades,” Reuters, (May, 2009) http://uk.reuters.com/article/motoringAutoNews/idUKTRE5406CF20090501?pageNumber=1&virtualBrandChannel=0 (accessed May 12, 2009).

5. Miranda Sawyer. “Madonna,” The Face (August, 2000), http://www.madonnacatalog.com/music/theface.htm (accessed May 12, 2009).

6. Karen Thomas, “Madonna Speaks out over Furore”, USA Today, (October, 2006),

http://www.usatoday.com/life/people/2006-10-23-madonna-oprah_x.htm (accessed May 12, 2009).

FINAL MODEL

This is the link to my final model: http://files.filefront.com/13706267

Below are images of my model:

Ground level of the meeting area, the outside lab looks like it is going to 'dock' in a landing bay much like one of Cousteau's ships or submarines.





The lighting effects are used to highlight the contrasting separate blocks, reminiscent of a 'ying-yang'.

 

Ramp leading to Cousteau's lab. The ramp is the connecting feature, like a ribbon it runs through each block in a loop allowing access to all the levels. Lighting effects are used here to indicate which block the ramp leads to when it spilts.

 

Inside the red block on the middle level. The middle level is where the green and red blocks 'interlock' as seen to the right of the shot. To the left is the ramp leading down to the bottom floor.

Each ramp has a different texture assigned to it to allow easy differentiation between them. They start off light at the top level of the green block, and become gradually darker as the transition is made into the bottom of the red block.

The key ramp which connects the red and green block. The lighting effects on the right of the shot spill from the interlocking rooms on the middle floor. I chose the rustic texture for this space as it effectively reflects and absorbs the coloured lighting.

Inside one of the interlocking rooms. Cousteau's scientists could conduct independent work whilst still in contact with others in the other block, thus encouraging cooperation and a feeling of connection.

On the top level of the green block, this is the lightest custom texture for this top ramp. The door way in the corner leads back out to the main ramp and back to the meeting space.

Main ramp leading back to the meeting space.

The 'spectator box' or meeting room.

Meeting room.

'Spectating' on the outside. The space is designed to 'frame' the view.

Ramp leading down to Nobel's lab. I used the lighting to make the viewer feel like they are descending deep into the earth. However, I did not want to frighten the viewer at all so I chose a warm hue for the lighting.




Outside Nobel's lab. I have attempted to create a cave like experience, as if Nobel has carved out a space for himself with his own invention: dynamite! It is meant to be reminiscent of the cave homes in Turkey and Greece, the effect is that of a primitive ancient temple, reminding the viewer that the practice of science has been going on for centuries.




Inside Nobel's upper lab. It was important to keep all the textures the same to encourage the notion that Nobel carved it all out of the one rock, like sculpture.




The archway leads back out to meeting space again, reinforcing the notion of 'spectating' and provides a connection between the two scientists and their labs.




View from Nobel's lab.